Artur Grucela

The Paintings of Artur Grucela

Born in 1987, Artur Grucela is a Polish figurative painter whose naturalistic, idyllic landscapes are populated by archetypical, often solitary, male figures caught in moments of introspection. His work explores the primal relationship of man to nature, as well as humanity’s lack of control over natural forces.

Raised in a small town in southern Poland, Grucela began drawing from an early age and became interested in painting during hie elementary school years. Primarily educated outside academic art institutions, Grucela frequently integrates themes from myths, allegories, and biblical symbolism into his work; he also draws upon motifs from art history, film noir productions, and classic literature.

Artur Grucela’s work, executed in either oils or acrylics on canvas, is inspired by the works of such artists as Early Renaissance painter Sandro Botticelli; English etcher and painter William Blake: French illustrator and printmaker Gustave Dorè: Swiss Symbolist painter Arnold Böcklin; and Franz von Stuck, a German printmaker and painter of ancient mythology.

Grucela has exhibited twice with Miligram, a cooperative of young artists in Wroclaw, the first being the city’s 2009 “Represent” exhibition and, in the following year, the “Dzika Banda (Wild Bunch)” exhibition held at Warsaw. After the Miligram group disbanded, he began showing his work through POCO, the Pop & Contemporary Art Museum, founded in Tallinn by Estonian tech pioneer Linnar Viik.

Artur Grucela has exhibited in POCO’s many group exhibitions and country art fairs, including the 2012 inaugural show at the POCO gallery in Wroclaw and the Agora Cultural Center of Wroclaw in 2013. His paintings were included in the 2024 group show “Mystery Keepers” at Warsaw’s Sotto 63 Gallery and at the 2025 group show “Ethereal” at the Edji Gallery in Brussels.

Grucela currently lives and works in Piwniczna-Zdrój, a popular destination in the Western Carpathian mountain range of southern Poland. His work is contained in many private collections in Poland, Switzerland and the United States. A photo-stream collection of Artur Grucela’s work can be found at: https://www.flickr.com/photos/arturgrucela/

Second Insert Image: Artur Grucela, “Moonlight”, 2025, Oil on Canvas, 120 x 90 cm

Bottom Insert Image: Artur Grucela, “In the Eyes of Nature”, 2025, Oil on Canvas, 120 x 90 cm

Aage Storstein

The Paintings of Aage Storstein

Born at the historic city of Stavanger in July of 1900, Aage Storstein was a Norwegian painter, draftsman and graphic artist who focused his studies on historical art as well as his own contemporary style. Although particularly interested in early Renaissance art, Storstein found inspiration in the work and unique style of Picasso.

Although he lived the majority of his life in Norway, Aage Storstein traveled to Paris to study during the 1920s. He studied at Académie Ranson, the private art school founded by painter Paul Ranson in 1908; the Académie de la Grande Chaumière which was free from the strict Academic rules of painting; and the Académie Colarossi, a school founded as an alternative to the government-sanctioned, more conservative École des Beaux Arts. In 1926, Storstein studied under Norwegian painters Henrik Sørenson and Per Lasson Krohg, both of whom had been students of Henri Matisse.

In Paris, Storstein was greatly influenced by the modernist paintings of that period and began his own distinctive style of Cubism. Although best know for his figurative compositions, Storstein’s landscapes were always central to his art. His landscapes, a blend of nature with human structure, were painted with analytical precision, simplified forms, and soft colors.

Aage Storstein’s first exhibition was held at the 1924 Høstutstillingen (Autumn Exhibition) in Oslo, Norway. the first of twelve exhibitions at this venue in his lifetime. In 1937, his work was exhibited at the International Exhibition in Paris, a significant event in which forty-four countries participated. Storstein won the 1938 competition for the design of the West Gallery of the Oslo City Hall. For this site, he created a series of Cubist murals that depicted Norwegian life and the country’s history and mythology.

Beginning in 1946, he taught at the Norwegian National Academy of Fine Arts where he later became head professor. Among Storstein’s students were such artists as modernist abstractionist Gunnar S. Gundersen, painter Halvdan Ljøsne, and painter/photographer Rolf Aamot, known for his electronic tonal images and film work.

In 1961, Aage Storstein was given a retrospective exhibition of his work at Norway’s largest gallery, Kunstnernes Hus, that contained works drawn from both public and private collections. Aage Storstein died in Norway in May of 1983 at the age of eighty-two. His work is in many private collections as well as the collections of the Oslo National Gallery and the Moderna Museet in Stockholm.

Top Insert Image: Aage Storstein, “Self Portrait”, 1931, Oil Cardboard and Paper on Panel, 21 x 17 cm, Private Collection

Second Insert Image: Aage Storstein, “Human Rights”, 1949, Mural Fresco, Detail, Oslo City Hall

Bottom Insert Image: Aage Storstein, “Mannshode (Man’s Head)”, Date Unknown, Oil on Plate, 30.5 x 23.5 cm, Private Collection

Happy Holidays to All 2025 !

Konstantin Gorbatov, “A Winter Landscape”, 1896-1945, Pencil and Gouache on Paper Laid Down on Board, 36.1 x 48.2 cm, Private Collection

I would like to wish a Happy Holiday and a Great New Year to all my site’s visitors and subscribers, as well as a heart-felt thank-you to those whose donations supported this site’s cost and research. Thank you for all your comments, suggestions and needed article corrections. If you have not already subscribed to this site, please do so. Have a great holiday season and a year of good health, new friendships and exciting adventures! Chas (Ultrawolves)

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Born at the Volga River town of Stavropol (now Tolyatti) in May of 1876, Konstantin Ivanovich Gorbatov was a Russian Post-Impressionist painter known for his vibrant landscapes. Interested in art at an early age, he sketched the churches, houses and river landscapes of his hometown. In the 1890s, Gorbatov trained with the local artists in Samara and later relocated to Riga in 1896.

While studying civil engineering in Riga, Gorbatov continued his art training with evening classes. In 1904, he relocated to St. Petersburg and initially enrolled at the Baron Stieglitz School for Technical Draftsmanship before transferring to the Imperial Academy of Arts where Gorbatov studied under landscape painters Nikolay Dubovskoy and Alexander Kiselev. He began exhibiting his work in 1908 and was acknowledged for his distinctive style, a fusion of realism and the emerging impressionist style.

Critics praised Konstantin Gorbatov’s celebration of everyday Russian life and the harmony found in every detail of his work. The influence of the French Impressionists can be seen in his loose brushwork and plein-air light effects. Gorbatov drew on the Peredvizhniki (Wanderers) realist tradition while embracing modern impressionism. Thus, his landscapes appealed to those who loved the post-impressionist Russian art and those with a sentimental connections to old Russian locales.

Gorbatov left Russian in 1922, unwilling to adapt to the new Soviet regime, and sought refuge in Italy, eventually settling in Venice. He frequently traveled around Italy and painted local scenes, architecture and seascapes as well as Russian landscapes from memory. Gorbatov moved to Berlin in 1926 where there was a thriving community of Russian émigré artists.During the late 1920s, he began selling and exhibiting his work internationally.

The rise of the Nazi regime in the 1930s led to a decline in interest for Konstantin Gorbatov’s work as it did not align with the austere cultural ideology of Nazi art policies. Still a Soviet citizen, he was forbidden to leave German and soon fell into poverty. Despite the hardship of his life, Gorbatov continued to paint for himself.

After enduring the war years in besieged Berlin, Gorbatov died in May of 1945, shortly after the Allied victory in Europe. His final act, one of generosity to his homeland, was the bequest that all his unsold artwork be given to the Academy of Arts in Leningrad. Many of Gorbatov’s paintings are also housed in the collection of the Moscow Regional Art Museum.

Voula Papaïoannou

The Photography of Voula Papaïoannou

Born at the historic city of Lamia in 1898, Voula Papaïoannou was a Greek photographer known for her documentation of the landscape and inhabitants of Greece. Her oeuvre is part of the School of Humanist Photography that emerged in the middle of the twentieth-century after the two World Wars. Instead of momentous events, humanist photography focused on everyday human experience, its nature, mannerisms and customs.

Voula Papaïoannou studied at the Polytechnic University of Athens where she developed an interest in photography. She began her career in the 1930s with several exhibitions of refined, nostalgic images of Greece’s landscape, its architectural monuments, and ancient works of art. However, Papaïoannou’s relationship with the photographic medium shifted drastically at the onset of the Second World War. Deeply affected by the suffering endured by the civilian population of Athens, she began to use her camera to arouse the conscience of the people.

Papaïoannou began to document the conflict’s background, her nation’s preparation for the war effort, and the departure of Greek soldiers to the front lines. She continued her work by documenting the period of German and Italian occupation and the ensuing economic blockade. Papaïoannou also created an emotional photographic series that revealed the emaciated children who were suffering from the great famine of 1941 to 1942.

Greece suffered comparatively much more than most Western European countries during the Second World War due to a number of factors. Heavy resistance led to immense German reprisals against civilians. Greece was also dependent on food imports; the British naval blockade coupled with transfers of agricultural produce to Germany led to a great famine. It is estimated that the Greek population declined by seven per cent during the Second World War. The country’s population also was affected by the rising hyperinflation, the fifth worst in economic history.

After the liberation of Greece, Voula Papaïoannou became a member of the photographic unit under the United Nations Relief and Rehabilitation, a body dedicated to assist and repatriate refugees. She toured the Greek countryside documenting the hardships of its rural population devastated by the 1944-1949 Civil War. The most well-known of all Papaïoannou’s work are her photographs which showed families and particularly children living under inhumane conditions. These photographs did not dwell on the sufferings of its subjects but rather told individual stories that focused on their dignity.

Papaïoannou’s work throughout the 1950s expressed Greece’s prevailing optimism, despite its two decades of suffering and thousand of deaths, in both the restoration of its traditional values and the future of mankind. Her photographs of the historic Greek landscape, shot during this period, were barren and drenched in light. Papaïoannou’s images of the Greek inhabitants, however, still showed a proud and independent people despite their poverty.

In addition to work published in the press, two collections of Voula Papaïoannou’s photographs were produced by the Swiss publishing house Guilde du Livre: the 1953 “La Grèce: à Ciel Ouvert (Greece: Open Skies)” and “Iles Grecques (Greek Islands)” in 1956. Her work was later published in the posthumous collection “Images of Despair and Hope: Greece 1940-1960” as a complimentary volume to the 1995 Athens retrospective presented by gallery owners Mouseio Benake and Renes Xippas.

Voula Papaïoannou passed away in Athens, Greece in 1990 at the age of ninety-two. Her photographs are in both private and public collections, including the Benaki Museum of Greek Culture in Athens. Since her death, Papaïoannou’s work continues to be presented in many solo and group exhibitions including one at Barcelona’s cntemporary art and learning center, La Virreina Image Center.

The Benaki Museum of Greek Culture’s website is located at: https://www.benaki.org/index.php?lang=en

Note: All images of Voula Papaïoannou’s work in this article are from the collection of the Benaki Museum of Greek Culture unless otherwise noted.

Top Insert Image: Photographer Unknown, “Voula Papaïoannou”, Date Unknown, Benaki Museum of Greek Culture, Athens, Greece

Second Insert Image: Voula Papaïoannou, “View of Lycabettus from the Acropolis, Athens”, circa 1950, Gelatin Silver Print, 43 x 41.9 cm, Benaki Museum, Athens Greece

Third Insert Image: Voula Papaïoannou, “Women Transporting Mud for Road Construction, Sellades, Arta Prefecture”, 1946, Gelatin Silver Print, 43 x 34 cm, Benaki Museum, Athens, Greece

Bottom Insert Image: Voula Papaïoannou, “Mykonos”, circa 1959, Gelatin Silver Print, Benaki Museum, Athens, Greece

Bryan Rogers

The Paintings of Bryan Rogers

Born in 1977 in Connecticut, Bryan Rogers is an American painter who creates stylized, densely wooded landscapes with waterfalls in which oversized male figures are entwined with the natural elements. His contemporary Art Nouveau-styled paintings form complex tapestries of rhythmic patterns that project an atmosphere of Edenic tranquility.

Rogers sees queer identity as an intrinsic part of his work. The relationship of his paintings’ protagonists to both the organic and constructed spaces in which they are placed reflect the public and private spaces that people navigate during their daily life.

Bryan Rogers earned his Bachelor of Fine Arts at Appalachian State University in Boone, North Carolina. He continued his studies at New York City’s Pratt Institute where he earned his Master in Fine Arts. From 2013 to 2019, Rogers was co-director of Honey Ramka Gallery, a private UltraContemporary gallery that was based in Brooklyn, New York until its closure.

Rogers primarily works in acrylic paints on panel in his basement studio at his partner’s family home. His vividly colored images are created through thin, transparent washes applied by detail brushes. Interested in the patterns and symmetry of nature and architecture, Rogers places his protagonists, variations of his partner and brother, in lushly-patterned luminescent landscapes. The flowing organic nature of these highly detailed settings are reminiscent of works by Alphonse Mucha as well as the Art Nouveau-styled San Francisco music posters of the 1970s.

Bryan Rogers has exhibited his work throughout the United States and Europe. These include group exhibitions at New York City’s Spring/Break Art Show; The Hole, a contemporary gallery in New York City’s Tribeca district; and Art Athina, Greece’s contemporary art fair and one of the oldest such fairs in Europe. Rogers also participated in the 2022 “The Bathroom Show” as well as the 2021 and 2023 “Works on Paper” group exhibitions at New York City’s Monya Rowe Gallery.

Past exhibitions of Rogers’ work also include the 2021 “Woodland” at the Richard Heller Gallery in Los Angeles; “Intimacy” in 2022 at art curator Taymour Grahne’s London gallery; the 2022 “The Container Garden” at New York’s Sears-Peyton Gallery; “I Am American” in 2023 at the contemporary Kutlesa Gallery in Goldau, Switzerland; and the 2024 “Here and There” at the Huxley-Parlour Gallery in central London. In New York City, Rogers’ solo exhibitions also included the 2022 “Woodland”, the 2023 “Duality: The Real and the Perceived” and the 2024 “Wallflowers”, all held at the Monya Rowe Gallery in the East Chelsea district of Manhattan.

Inquiries about Bryan Rogers’ paintings and future exhibitions should be presented to his representative, Monya Rowe Gallery, 224 West 30th Street, #304, New York City.

http://monyarowegallery.com/index.php

Top Insert Image: Photographer Unknown, “Bryan Rogers in Studio”, 2024, Color Print, Artnet News, January 2024

Second Insert Image: Bryan Rogers, “Here and There”, 2024, Acrylic on Panel, 122 x 91.4 cm, Huxley-Parlour Gallery, London

Third Insert Image: Bryan Rogers, “Entangled”, 2024, Acrylic on Panel, 50.8 x 40.6 cm, Monya Rowe Gallery, New York

Philip Jones

The Artwork of Philip Jones

Born in London in 1933, Philip Jones was an English contemporary painter. An artist between the visionary and nostalgic works of the Neo-Romantics and the second generation of St. Ives Abstractionists, he created subtly-shaded paintings heightened with occasional bursts of color that resided on the periphery of abstraction.

Jones’s paintings were connected to the landscape surrounding his Norfolk home as well as the scenery he observed during his yearly travels. He spent most of his winters overseas at coastal destinations in Malta, India, Namibia, and the Republic of the Gambia. Jones, through a strong sense of connection with the natural world and its elements, became very adept at portraying a particular locale through the use of fluid lines and brushstrokes.

Philip Jones was educated at the historic Malvern College where he trained under post-impressionist painter and etcher Harry Fabian-Ware. In 1953, Jones enrolled at the Slade School of Fine Art where he became acquainted with fellow painters William Turnbull, Victor Willing and Michael Andrews. During his three years at the Slade School, Jones received private tutoring from mural and war artist Sir Walter Thomas Monnington and realist painter Sir William Coldstream, the Slade School’s acting principal.

Jones had his first exhibition in 1954 at the Royal Society of British Artist Galleries. During his career, his paintings were shown at many of London’s most prestigious galleries. In 1955, Jones had an exhibition at the Leicester Galleries, well-known for exhibiting the work and developing the careers of major artists. In 1964, there were two exhibitions: the London Group, one of the world’s oldest artist-led organizations, and the Artists‘ International Association in Soho. Jones’s work was shown at Mansard Gallery at Tottenham Court Road in 1967 and, in the next year, at the Contemporary Arts Society exhibition in the Whitechapel Gallery.

Philip Jones left London in 1979 and relocated to Clermont Hall in Norfolk, a county known for its small chapels, plowed fields, outbuildings and green spaces. The works he painted in Norfolk are known for their palettes of predominately muted browns, soft blues and strong greens that conjure up the countryside’s lush foliage.

Following this period of withdrawal from London’s art scene, Jones resumed presenting his work for exhibitions. For the remaining fifteen years of his life, he entered his work into the annual Royal Academy exhibitions. In 2008, Jones had a solo exhibitions in March-April at London’s Oliver Contemporary and September-October at Madrid’s La Galería Espacio Minimo. Philip Jones passed away on the last day of December in 2008.

The work of Philip Jones is housed in both private and public collections in the United Kingdom and Europe. The Estate of Philip Jones is represented by Jenna Burlingham Fine Art on George Street, Kingsclere, Hampshire, England. For information on work by Philip Jones, the gallery’s website is located at: https://www.jennaburlingham.com

Second Insert Image: Philip Jones, “Reflections, Calangute”, 2000, Oil on Paper, 58.4 x 76.2 cm, Jenna Burlingham Gallery, Kingsclere, England (Available)

Bottom Insert Image: Philip Jones, “Rocks at Mġarr”, 1999, Oil on Board, 37 x 49 cm, Jenna Burlingham Gallery, Kingsclere, England (Available)

Aldo Pagliacci

Paintings by Aldo Pagliacci

Born in 1931 in San Benedetto del Tronto on the coast of the Adriatic Sea, Aldo Pagliacci was an Italian painter and self-taught violin craftsman whose artistic talent was evident from an early age. At the age of twenty, he had already exhibited paintings at the Biennale of Venice and the Rome Quadrennial. After these exhibitions, Pagliacci relocated to Rome circa 1930.

In the 1890s, Italy had claimed Ethiopia was an Italian protectorate and tried to conquer the country unsuccessfully. In 1934, Ethiopia was one of the few independent states in a European-dominated Africa. After a border incident in December of 1934 between Ethiopia and Italian Somaliland, Benito Mussolini rejected all attempts at arbitration and, in October of 1935, invaded Ethiopia. In 1936, Pagliacci volunteered for military service as part of the invasion.

During the second World War, Aldo Pagliacci served as a magazine correspondent but was captured by the British in 1941. Pagliacci was taken to a Rhodesian prisoner of war camp where he was assigned to decorate the camp church’s interior. He claimed he accomplished the task in four months fueled by the cognac and whiskey provided by two Franciscan friars. Sometime after his return to Italy in 1946, Aldo Pagliacci began a twenty-year travel period in Central and South America. He lived and worked for extended periods in Mexico, Peru, Chile, Argentina, Bolivia and Venezuela.

In 1971, Pagliacci established a studio in Rome and began a period of studio work and travel throughout northern Europe, specifically Germany, Sweden, Holland and Norway. It is known that he began his career as a maker of violins and cellos in Rome at this time. A Pagliacci violin, dated 1973 with a production number of fifty, was auctioned by Tarisio Fine Instruments & Bows in 2021.

No specific information exists as to where Pagliacci learned his skills at crafting musical instruments. Due to the very long and swinging f-shaped openings on the sides of the violin’s body, his violins are believed to be based on those of the Marches region of central Italy. Pagliacci’s models differ from the Landolfi violins of the Madrid area in that they are wider and rounder. The corners of Pagliacci’s violins are short and the arching is flat which produces a more powerful soloist tone. There is no specific knowledge on the number of music instruments he actually created; however it is speculated it was more than one hundred.

In about 1980, Aldo Pagliacci settled on Forio d’Ischia, an island southwest of the city of Naples. He would remain on Forio d’Ischia until his death in 1991. Pagliacci’s paintings are housed in the major museums of Central and South America as well as many private collections, including the collections of Nelson Rockefeller and film actor Clifton Webb.

Notes: Musical instruments created by Pagliacci occasionally appear at auction sites. A violin, numbered eighty-five and dated 1985, sold through the privately owned London auction house Bonhams for £12,500 (14,542 Euros).

Top Insert Image: Aldo Pagliacci, “Fire in Santa Maria in Montesanto”, 1970, Oil on Canvas, 70 x 50 cm, Private Collection

Second Insert Image: Aldo Pagliacci, “In the Bakery”, 1954, Oil on Plywood, 55 x 41 cm, Private Collection

Bottom Insert Image: Aldo Pagliacci, “View of Rome, Ponte Mazzini”, 1948, Oil on Canvas, 75 x 65 cm, Private Collection

Martin Stommel

The Paintings of Martin Stommel

Born in 1969, Martin Stommel is a German contemporary painter whose dramatic and suspenseful compositions are a statement on the restlessness of the world. He first studied at Munich’s State Art Academy from 1994 to 1997 under Professor Bernhard Franz Weißhaar (Weisshaar), the academy’s Chair of Christian Art from 1978 to 2000. Stommel entered Berlin’s University of Arts, HdK, in 1998 where he studied under landscape painter and graphic artist Klaus Fußmann (Fussmann).

During the span of his academic studies, Stommel also trained under Russian painter and dissident Boris Georgievic Birger. Birger widely exhibited in Russia during the 1950s to the 1970s. After he joined the human rights movement, he was expelled in 1962, under the influence of Communist Party leader Nikita Khruschev, from the Moscow Union of Artists. Birger emigrated in 1990 to Bonn, Germany where he taught and exhibited until his death in 2001. Through his association with Birger, Stommel met several international artists, including Russian writer Lev Kopelev, German author and journalist Fritz Pleitgen, and Russian cellist Natalia Gutman.

In 2000, Martin Stommel met Austrian-born art historian and theorist Sir Ernst Gombrich in London. The author of many works of both cultural and art history, Gombrich is noted for his 1950 “The Story of Art” and 1960 “Art and Illusion”, a major work in the psychology of perception which influenced such writers as Umberto Eco and Thomas Kuhn. Gombrich encouraged Stommel towards figurative work and, during his last years of life, engaged in an exchange of supportive letters.

Stommel’s work exhibits the same bold brushwork and use of perspective as that used by sixteenth-century Venetian painter Jacopo (Tintoretto) Robusti, as well as, the intensity found in the figurative paintings of German modernist Max Beckmann who reinvented the religious triptych form. Stommel uses strong lighting techniques, carefully chosen colors, energetic diagonal movement, and elongated gestural bodies to create powerful visual experiences of tension and drama. His figures, rarely static, are full of energy and accentuated by bold black lines of pronounced shading

Between the years 2001 and 2007, Martin Stommel created a series of paintings and drawings of circus scenes as well as portraits of circus performers. His portraits included such famous clowns as the white-faced Francesco Caroli, Oleg Popov of the Moscow Circus, and David Larible known for his performances with Ringling Brothers and Barnum & Bailey Circus as well as Bernhard Paul and André Heller’s Circus Roncalli. Stommel’s circus portraits, along with still lifes and landscapes, were shown in his first solo exhibition in 2003 at the Museum Charlotte Zander in Bönnigheim, Germany. In the next year, he presented his circus paintings in the Principality of Monaco at the invitation of Prince Rainier III and his illustration series for the “Divine Comedy” at the Stadtmuseum in Bonn.

Stommel has regularly exhibited in solo shows throughout the years. In 2013, he exhibited at the Stiftung Wilhelm Lehmbruck Museum in Duisburg which was followed by two shows at Frankfurt’s Galerie Mühlfeld & Stohrer in 2014 and 2015. Stommel’s “Lust and Expectation”, inspired by the world of dance, was held in 2019 at Gallery 70 in Tirana, Albania. In 2020, he had a second solo show at the same Gallery 70 location which showed large-format works, among which was his 2018 “Amazonenkampf (Fight of Amazons)”, a densely painted martial work of warriors and horses. Stommel’s 2022 “On Deliverance” exhibition, a series of works on the turmoil in the world, ran from April to July at Berlin’s Janine Bean Gallery, a dedicated supporter of local contemporary art.

Martin Stommel’s work has also been exhibited at the Kallmann Museum at Ismaning, Germany; Museum am Dom Trier, Germany; Cologne’s Lew Kopelew Forum; Munich’s Katholische Akademie in Bayern; Monaco’s Théâtre Princesse Grace; the Venice Biennial; as well as many galleries and art fairs in London, Cologne, Berlin, Lübeck and Munich, among others.

Notes: Martin Stommel’s website with current exhibition and contact information is located at: http://martin-stommel.deadwings.de/de

A short video in which Martin Stommel discusses his work can be found in the videos category at Gallery 70’s YouTube site located at: https://www.youtube.com/@gallery70/videos

Second Insert Image: Martin Stommel, “Jesus Asleep”, 2022, Oil on Linen, 260 x 175 cm, Private Collection

Bottom Insert Image: Martin Stommel, “Girls at the Pool”, 2024, Oil on Canvas, 57 x 52 cm, Gallery 70, Chicago (Available)

Konstantin Somov

Konstantin Somov, “The Boxer”, Portrait of Mikhailovich Snejkovsky, 1933, Oil on Canvas, 54.8 x 46 cm, Private Collection

Born in Saint Petersburg in November of 1869, Konstantin Andreyevich Somov was a Russian artist and founding member of the artistic movement Mir Iskusstva, World of Art, that became a major influence on Russian artists of the early twentieth-century. Konstantin Somov was the second son of Andrei Somov, an art historian and senior curator at the Hermitage Museum, and Nadezhda Konstantinovna, a talented musician and well-educated daughter of the Lobanovs nobility.

Konstantin Somov attended the Karl May School in Saint Petersburg where he became close friends with classmates Dmitry Filosofov, later author and literary critic, and Alexandre Benois, future historian and influential designer for the Ballets Russes. At the age of twenty, Somov entered the Imperial Academy of Arts and studied from 1888 to 1897 under Ukrainian-born historical and portrait painter Ilya Repin. While at the academy, he developed lasting friendships with Sergei Diaghilev, the future founder of the Ballets Russes, and Léon Bakst, a painter who became an influential costume designer for Diaghilev’s company.

In the summer of 1895, Somov and Alexandre Benois stayed at a dacha in the village of Martyshkino near the coastal city of Oranienbaum. The landscapes he created and exhibited became his first major success with praise from both critics and artists. Somov graduated from the Academy in 1897 and continued his education at the Académie Colarossiin Paris. From 1897 to 1890, he worked on a portrait of Elizaveta Martynova, clothed in an old-fashioned dress, entitled “Lady in Blue”. Martynova was a painter, a graduate of the Imperial College of the Arts, who died at the age of thirty-six from tuberculosis. In this portrait finished four years before her death, Martynova’s delicate and trembling figure, frail with yellowish skin, stands alone in a park facing spectators with a face full of sorrow.

After the founding of the Mir Iskusstva in 1898, Konstantin Somov served as an editorial board member and contributed illustrations and designs to its magazine edited by Sergei Dlaghilev. During the 1910s, he created a series of harlequin scenes and illustrations for a poetry volume by Alexander Blok. Somov’s work was now exhibited in the United States and Europe, particularly in Germany where a 1909 monograph on his work was published.

In 1910 at the age of forty, Somov met the eighteen-year old Methodiy Lukyanov who became his close longtime companion and part of the Somov family. Lukyanov helped in the household, organized exhibitions and became Somov’s trusted advisor and critic. Somov painted many portraits of Lukyanov, among which is a large 1918 portrait which depicted Lukyanov seated on a sofa in pajamas and robe; this work is now housed in St. Petersburg’s Russian Museum. Somov and Lukyanov’s relationship would continue for twenty-two years until Lukyanov’s death from tuberculosis in April of 1932.

Konstantin Somov had a penchant for drama and was drawn to the elegant but bawdy nature of French erotic writing of the 18th century. From 1907 to 1919, he worked on illustrations, some suggestive and others explicit, for “Le Livre de la Marquise”, an anthology of eighteenth-century erotic French poetry and prose by Lachos, Casanova and Voltaire. Somov’s work became more erotic as time progressed. The most explicit of these was an eight-hundred copy edition published in 1917 at St. Petersburg’s R. Golike & A. Vilborg & Company.

Although initially greeted with enthusiasm, the Russian Revolution from 1917 to 1923 created a deterioration in living conditions. Shortly after the government nationalized his apartment, Somov was evicted; he did however manage to retain the rights to his own artwork. In December of 1923, Somov became part of the Russian Exhibiton and, as a member of the delagation, traveled to the United States where he represented the city of Petrograd. He never returned to to his homeland. After leaving the United States in 1925, Somov settled in Paris where he reunited with his old friends Alexandre Benois, Léon Bakst and Benois’ niece, the painter Zinaida Serebryakova.

Konstantin Somov, in terms of his artistic influences, felt closer to the Old Masters rather than the work of his contemporaries. He was particularly drawn to the work of eighteenth-century Rococo painter François Boucher known for his idyllic pastoral scenes. While in Paris, Somov predominantly painted miniatures and portraits. The still life became one of his favorite subjects and would perform an important role in his portraits as it added additional information on the sitter.

Even though established as a well-known artist, Somov continued to live a reclusive lifestyle. In June of 1930, he met Boris Mikhailovich Snejkovsky. Born in Odessa in July of 1910, Snejkovsky was the son of a captain of the Russian Volunteer Fleet and traveled frequently with his family until they settled in Paris. During the 1930s, Snezhkovsky would model, both clothed and nude, for many of Somov’s works including illustrations for an edition of “Daphnis and Chloe”. In February of 1923, Somov painted a portrait of his model entitled “The Boxer”, a half-length nude oil-portrait with boxing gloves on the wall. Snezhkovsky also served as the model for Somov’s 1937 “Obnazhennyl Iunosha (Nude Youth)” now in the State Russian Museum.

Konstantin Andreyevich Somov died in May of 1939, at the age of sixty-nine, in Paris, France. He is buried in the Sainte-Geneviève-des-Bois Russian Cemetery, south of Paris. In 2016, Russian art historian Pavel Golubev founded the Somov Society to preserve and study the life and works of Konstantin Somov. Goluvev curated the 2019 “Konstantin Somov, Uncensored” at Ukraine’s Odessa Fine Arts Museum and sponsored the 2019 colloquium “The Lady with the Mask: Homosexuality in the Art of Konstantin Somov” at the University of Pennsylvania.

Top Insert Image: Konstantin Somov, “Self Portrait”, 1921, Pencil Watercolor on Paper, Private Collection

Second Insert Image: Konstantin Somov, “Vladimir Aleksandrovich Somov”, Konstantin Somov’s Nephew, 1925, Oil on Canvas

Third Insert Image: Konstantin Somov, “Lady in Blue”, Portrait of Yelizaveta Martynova, 1897-1900, Oil on Canvas, 103 x 103 cm, Tretyakov Gallery, Moscow, Russia

Fourth Insert Image: Konstantin Somov, “Boris Snejkovsky with Cigarette”, 1938, Oil on Canvas, 46.4 x 38 cm, Private Collection

Bottom Insert Image: Konstantin Somov, “Daphnis and Chloe”, 1930, Watercolor Illustration, Ashmolean Museum, Oxford, United Kingdom

Greg Drasler

The Paintings of Greg Drasler

Born in Waukegan, Illinois in 1952, Greg Drasler is an American painter known for his metaphorical images that explore the formation of identity and memory. His representational work incorporates elements of abstraction, surrealism, and the postmodernist elements of graphic design.

Drasler’s paintings of elaborately constructed interior spaces, symbolic and commonplace objects, and patterned panoramas hold enigmatic puzzles and psychological mysteries that intrigue the viewer’s sense of perception. A major component of his work is the exploration of liminal spaces and thresholds between public and private, real and imaginary, and object and environment. Liminality, in anthropology, is the quality of ambiguity or disorientation that occurs in the middle stage of a rite of passage. Participants in effect stand at the threshold of their previous self-identification and their new existence established by the rite.

Greg Drasler uses the strategies of bricolage, the creation of a work from a diverse range of objects, to place the viewer in a state of liminality. His images of suitcases, men with hats, automobile interiors, film sets, and the American highway contain symbols, metaphors, visual puzzles and puns. Humor, nostalgia and a sense of the uncanny are contained in these examinations of the Self and its relationship to local culture and both personal space and location.

In the 1960s, Drasler became interested in art as a career through his exposure to the contemporary art of his time. A major influence on his life’s work came from James Rosenquist’s awe-inspiring 1964-65 “F-111”, a painting of fifty-nine interlocking panels that enclosed the viewer. Drasler was also influenced by sculptor Horace Clifford Westermann, a master of traditional carpentry and marquetry techniques, as well as the representational artists of the Chicago Imagists such as Jim Nutt, whose work was inspired by pop culture, and Robert Brown for whom collected art and objects functioned as important source materials.

In 1976, Drasler entered the University of Illinois at Urbana-Champaign to study art. He committed to the medium of painting in 1978 and earned his Bachelor of Fine Arts in 1980. After receiving his degree, Drasler enrolled in the university’s Year in Japan Program, a period which focused his work on the relationship between identity and place presented through the use of domestic functional imagery. After completing his Master of Fine Arts in 1983, Drasler relocated to New York City and began to exhibit his work professionally. The first exhibition of his paintings was in the first “On View” held at the New Museum of Contemporary Art in 1983.

Greg Drasler’s earliest work focused on builder and handyman imagery that served as an allegory for self-construction. His first series, executed between 1987 and 1990, was the “Baggage Paintings”, which depicted plush luggage in random but carefully composed states, either stacked as in “Samson and Delilah” or grouped as in “Baggage Claim”. The meticulously detailed groups of baggage, whose lighting and color were playfully painted, presented allegories of identity, luxury, and privacy. Drasler’s 1990 painting from the series, “His”, depicts two upright traveling trunks in a room. One contains a set of six drawers while the other is opened to reveal an empty space for hanging clothes. The bright golden light that emanates from the interior of the trunk, almost magically, is in stark contrast to the dull interior of the room.

With the support of a New York Foundation for the Arts Fellowship in 1991 and a subsequent National Endowment for the Arts Fellowship in 1993, Drasler began “Cave Paintings” which depicted intricately constructed, ornate interior living spaces that served as metaphors for one’s creation of the Self, as well as, the relationship to one’s personal, domestic space. These tableaus with their architecture, wallpaper and fabric were distinguished by human absence and trope-l’oeil obfuscation. The illusionistic perspective and the meld of motifs were designed to create a voyeuristic view of unsettling presence and closely guarded secrets, a similar sensation akin to painter Giorgio de Chirico’s famous piazza paintings. “Cave Paintings’ were first presented at New York’s Queens Museum of Art in 1994, followed by exhibitions in Seattle, Boston and New York.

Greg Drasler’s “Tattoo Parlor” series explored wallpaper patterns and the psychological imprint they have on a room’s occupants. One group from the series was “Jesus Wallpaper”, that consisted of papered walls of loosely rendered iconic images of Jesus and assorted hanging objects; the “Jumping Jesus” installation, for instance, contained hanging auto jumper-cables. Starting in the early 2000s, Drasler’s investigations of liminal spaces included automobile interiors, Hollywood illusionism, and the great American road trip. After seeing cutaway automobile props used in film sets, which exist as both interior and exterior spaces, he employed that image in several paintings including the 2006 “Green Screen” and the 2010 “Internal Combustion”.

With a 2014 Guggenheim Fellowship, Drasler drove across country, during which he gathered ideas for what became his “Road Trip”series, expansive vistas of the Midwest that often depicted the vernacular architecture of the American roadhouse. These paintings included large areas of criss-cross patterning, often looking like quilts in the sky, that suggested the vast reach of the landscape and its division into property. A major work of this series was the 2016 six-panel “Stratocaster Suite” which presented a stop-motion sequence in the style of Eadweard Muybridge when displayed across the wall.

Greg Drasler’s essay “Painting into a Corner: Representation as Shelter” was published in editor Joseph Scalia’s 2002 “The Vitality of Objects: Exploring the Work of Christopher Bollas”, published by Continuum Press, London, and Wesleyan Press. He collaborated with poet Timothy Liu for the 2009 “Plolytheogamy” published in 2009 by Philadelphia’s Saturnalia Press; it was comprised of interleaved images of Drasler’s paintings and Liu’s poetry. Drasler has taught and lectured at schools, including Princeton University, Pratt Institute for the past twelve years, Williams College, Hofstra University, and Montclair State University. Starting in 2007, he has been represented by New York’s Betty Cuningham Gallery on the Lower East Side.

Notes: A biographical narrative by Greg Drasler on his life, as well aa contact information and video projects, can be found at the artist’s site located at: https://www.drasler.com

More information on Greg Drasler’s work can be found at the Betty Cuningham Gallery website located at: http://www.bettycuninghamgallery.com/artists/greg-drasler

Second Insert Image: Greg Drasler, “Green Room”, Cave Painting Series, 1997, Oil on Canvas, 177.8 x 127 cm, Private Collection

Third Insert Image: Greg Drasler, “Houdini”, 1987, Oil on Canvas, 177.8 x 152.4 cm, Private Collection

Fourth Insert Image: Greg Drasler, “Wiggle Room Post It”, Wiggle Room Series, 2000, Oil on Canvas, 147.3 x 132 cm, Private Collection

Bottom Insert Image: Greg Drasler, “Slide Lecture”, Cave Painting Series, 1995, Oil on Canvas, 147.3 x 132.1 cm, Private Collection

Wade Reynolds

The Artwork of Wade Reynolds

Born in Jasper, New York in June of 1929, Wade Reynolds was an American self-taught realist painter. He studied electronics during his service in the United States Navy and for a short period of time in Rochester, New York. Realizing he was in the wrong career, Reynolds relocated to New York City where he joined a local theater group and studied drama at the studio of director Herbert Bergoff.

Residing in the Greenwich Village area of Manhattan, Reynolds designed fabrics, glassware, china, and wallpaper before focusing on painting. In 1958, he began his professional art career with a commission for illustrations for Richard Mason’s novel “The World of Suzie Wong”. In May of the following year, Reynolds relocated to California where he successfully established himself as a technically skilled painter of portraits and figures.

Reynolds painted throughout the California area, including Los Angeles, San Francisco, Oceanside and Newport Beach. Among his many commissions are portraits of stage and film actress Agnes Moorehead and Broadway costume designer Noel Taylor. Reynolds also painted the official state portrait of California Governor George Deukmjian who served from 1983 to 1991.

Wade Reynolds was an instructor at the Laguna College of Art and Design, formerly the Art Institute of Southern California, and the Academy of Art University in San Francisco. After a long fight with cancer, Wade Reynolds passed away in October of 2011.

Wade Reynolds’s work has been exhibited in galleries in San Francisco, Santa Barbara, Newport Beach, New York City, and Santa Fe. His work has been shown at the Santa Barbara Museum of Art and the San Francisco Palace of the Legion of Honor. In addition to many private collections, Reynolds’s work is housed in the permanent collection of the University of Southern California’s Fisher Gallery.

Top Insert Image: Photographer Unknown, “Wade Reynolds”, Date Unknown, Gelatin Silver Print, Estate of Wade Reynolds

Bottom Insert Image: Wade Reynolds, “Boy on Chair”, Date Unknown, Oil on Canvas, 76.2 x 60.1 cm, Private Collection

Patrick Anthony Hennessy

The Paintings of Patrick Anthony Hennessy

Born in August of 1915 in Cork, Patrick Anthony Hennessy was an Irish realist painter known for his landscapes, still lifes, portraits, and trompe l’oeil paintings. Often considered an outsider of latter day Irish painting, he developed a distinctive personal style of carefully observed realism executed with highly finished surfaces that he faithfully followed throughout his career.

After his father’s battle death in 1917 during World War I, Hennessy’s mother remarried to John Duncan from Scotland in 1921; the family relocated to Arbroath, a royal burgh on the coast of Scotland where Duncan’s relatives resided. During his primary education at the Arbroath High School, Hennessy showed an aptitude for art and graduated in 1933 with the honor, Dux for Art, and an accompanying medal. In the autumn of that year, he entered the Duncan of Jordanstone College of Art & Design at the University of Dundee where he studied drawing and painting under portrait painter Edward Baird and noted landscape painter James McIntosh Patrick.

Patrick Hennessy, in addition to his art studies, wrote a ballet entitled “Paradise Lost” which was performed at the college in 1935. In each year of his course, he gained a First Class Pass, as well as winning first prize in 1934 and 1936 for the work he produced during summer breaks. Hennessy graduated with a First Class Distinction in 1937 and, with a scholarship, earned his Post-Graduate Diploma in 1938. During his studies, Hennessy met his life-long partner, British-Irish landscape and portrait painter Harry Robertson Craig who was also attending courses at Dundee. Aside from the period between 1939 and 1946 when they were separated by the war, they spent the rest of their lives together.

A month after finishing his post-graduate work, Hennessy entered his paintings in a group exhibition at the Art Galleries in Arbroath. Awarded an Annual Traveling Scholarship for further studies in Italy and France, he traveled to Europe in June of 1938. In Paris, Hennessy reunited with two friends, Robert Colquhoun and Robert MacBryde. whom he had met the previous year. Known as the two Roberts, these painters and theater set-designers had established both a lifelong romantic relationship and a professional collaboration in their art. Hennessy and the couple traveled together through the south of France until their arrival in Marseilles at the end of 1938.

Upon his return to Scotland, Patrick Hennessy was selected for the residential summer course at the historical arts center, Hospitalfield House, under painter James Cowie, an artist of detailed draftsmanship based on studies of the Old Masters. Two of Hennessy’s paintings from this period were accepted for the Annual Exhibition held by the Royal Scottish Academy. With war looming in the autumn of 1939 and feeling disenchanted by his time at Hospitalfield House, he made the decision to return to his native Ireland. On his arrival in Dublin, Hennessy was offered an exhibition in December of 1939 at abstract artist Mainie Jellett’s Country Shop gallery on St. Stephens Green in the city center.

After his well received exhibition, Hennessy was invited to join the Society of Dublin Painters with whom he would exhibit annually during the 1940s and early 1950s. Beginning in the early 1940s, a visual homosexual subtext began to be incorporated into some of Hennessy’s paintings. In addition to the work he produced for exhibition in this period, he also received many portrait commissions from clients. Hennessy began a long relationship with the Royal Hibernia Academy in 1941 with the acceptance of three of his paintings for their annual exhibition; he exhibited with the academy virtually every year from 1941 until his death.

In 1946, Patrick Hennessy reunited with Harry Robertson Craig who had recently been discharged from the intelligence branch of the British Army where he served during the Second World War. Prior to his service, Craig had extensively traveled throughout Europe where he painted landscapes and portraits. Hennessy and Craig soon moved to Crosshaven in Cork and later to the seaport town of Cobh on the southern coast of County Cork. In 1948, Hennessy had an exhibition at Dublin’s Victor Waddington Gallery, which had emerged as Ireland’s most important modern art venue. After a year as an associate, he became a full member of the Royal Hibernian Academy in 1949.

Hennessy’s work became noticed in North America when his published work “De Profundis” was included in the Contemporary Irish Painting Exhibition that toured various cities on the continent. The 1950s brought Hennessy a retrospective of his work from 1941 to 1951 at the Dublin Painters Society and several painting excursions to Italy and Sicily. One of his works at this time, “Bronze Horses of St. Marks”, was exhibited at London’s Royal Academy in 1954. In 1956, Hennessy had two major solo exhibitions of his work: London’s Thomas Agnew Gallery which showed thirty-eight paintings and Dublin’s Ritchie Hendriks Gallery which would be the main outlet for his work over twenty-two years.

In the winter of 1959, Patrick Hennessy became seriously ill with pneumonia. As a consequence, he and Harry Craig decided to spend the winter season in Morocco. After 1959, they never spent a full year in Ireland and increasingly spent time abroad. In the 1960s, Hennessy continued to be true to his personal style; however, as he did not follow the current trends in art, he began to receive less favorable reviews from the art critics. Finally in 1965, Chicago’s Guildhall Gallery, which had accepted his work for years, offered Hennessy a major exhibition in 1966. The success of which enabled him to become an artist with work on permanent display at the gallery and a scheduled annual exhibition.

In 1968, Hennessy made a permanent move to Tangier, Morocco where he painted prolifically for nine years to keep up with the demand from both the Hendriks and Guildhall Galleries as well as the Royal Hibernian Academy. A highly successful retrospective of Hennessy’s work was held in 1975 at the Guildhall Gallery. Three years later, he had his last show in Dublin at the Hendriks Gallery. After his move with Harry Craig to the Algarve in Portugal, Hennessy had little contact with Ireland and began to have health problems that soon grew more serious. In November of 1980, Craig brought him to a London hospital for treatment. Diagnosed with cancer, Patrick Hennessy died on the thirtieth of December in 1980.

Following cremation, Patrick Anthony Hennessy’s ashes were buried in London’s Golders Green Crematorium. He had left his entire estate to Harry Robertson Craig, with the proviso that on Craig’s death the Royal Hibernian Academy should be the beneficiary. Upon Craig’s death in 1984, this legacy was used to set up the biennial Hennessy Craig Scholarship for aspiring artists. Hennessy’s work, in addition to many private collections, can be found in major public collections including the Irish Museum of Modern Art, the National Gallery of Ireland, the University Colleges of both Cork and Dublin, and the Crawford Art Gallery, among others.

Note: The Irish Museum of Modern Art has an excellent article on Patrick Hennessy’s connections which such figures as Francis Bacon, Elizabeth Bowen, Roger Casement and other artists. This Modern Irish Masters article can be found at: http://www.modernirishmasters.com/context/patrick-hennessy-context/#stags

Top Insert Image: Photographer Unknown, “Patrick Hennessy and Harry Robertson Craig”, Date Unknown, Gelatin Silver Print

Second Insert Image: Patrick Hennessy, “Boy and Seagull”, 1949, Oil on Canvas, 52 x 38 cm, Irish Museum of Modern Art

Third Insert Image: Patrick Hennessy, “Cliffs of Etretat (Self Portrait)”, 1962, Oil on Canvas, Private Collection

Fourth Insert Image: Patrick Hennessy, “Portrait of Elizabeth Bowen at Bowenscourt”, 1957, Oil on Canvas, 91 x 71 cm, Crawford Art Gallery, Cork, Ireland

Bottom Insert Image: Patrick Hennessy, “Men Bathing, Etretat”, circa 1954, Oil on Canvas, Date and Location Unknown

Christopher Wood

The Artwork of Christopher Wood

Born in Knowsley near Liverpool in April of 1901, Christopher Wood was an English painter who produced during his short life a well-crafted collection of vivid, personal canvases. Wood was one of few Englishmen who gained access to the fashionable Parisian art circles through which he developed a great friendship with Jean Cocteau. Like the artist Van Gogh, Wood experienced a level of emotional inner turmoil and over-sensitivity throughout his life.

The son of a primary healthcare doctor, Wood began to draw at the age of fourteen while recuperating from septicemia, blood poisoning caused by bacteria. By 1920, he had studied architecture briefly at Liverpool University and painted a series of canvases in Wiltshire where his father had set up practice. However, Wood was mainly untutored and, due to his use of unusual perspective and bold color, his work is considered faux naïve, primitive or childlike, with resemblance to the canvases by self-taught French painter Henri Rousseau. Although untutored, Wood learned from his acquaintances in France and, in particular, adopted the elegant line of Cocteau’s drawings.

In London in 1920, Christopher Wood was invited by the visiting French art collector Alphonse Kahn to Paris, where he began studying drawing at the Académie Julian. Within a short time, Wood met painter Augustus John and, in the early summer of 1921, the Chilean diplomat José Antonio de Gandarillas. Wood, who was bisexual, moved into Gandarilla’s house at 60 La Montaigne although he kept his studio on the Rue des Sant Peres. Although Gandarillas was a married homosexual fourteen years older than Wood, their relationship lasted through Wood’s life. In addition to financial support, Gandarillas introduced Wood to Pablo Picasso, Georges Auric and Jean Cocteau, and to the use of opium.

In his work, Wood always remained attached to the presence of the human figure in his compositions. His work included self-portraits and sensitive renderings of fishermen and local people; working people were often idealized in his paintings as heroic or spiritual figures. In this regard, Wood’s work had much in common with Paul Gauguin’s Brittany paintings and with images Van Gogh made throughout his career. Initially dedicated to portraying exactly what he saw, Wood’s later canvases with their added contrasting scenic aspects, such as the 1930 “Zebra and Parachute, suggest a look forward to the beginnings of the surrealist movement.

During the years between 1922 and 1924, Christopher Wood and José Gandarillas traveled extensively throughout Europe and visited the northern region of Africa. By 1926, Wood had established himself as an artist and was chosen to make set designs for Sergei Diaghilev’s Ballets Russes adaption of “Romeo and Juliet”. This commission occurred after the successful presentation of Wood’s largest and most ambitious work, the 1925 “Beach Scene with Bathers, Pier and Ships’, which was sold immediately and reproduced in the art journal “Colour” and in “Vogue” magazine. When his set designs were abandoned, Wood returned to London where he became a member of the newly formed contemporary art associations, the London Group and the Seven and Five Society.

It was during this period that Wood met Ben and Winifred Nicholson, a married couple, both painters, who supported his work. He also shared an interest with the Nicholson couple in still life and surrounding landscapes. Wood and the Nicholsons, now close personally and artistically, traveled together in Northumberland and Cornwall; they exhibited their new work together in April and May of 1927 at London’s Beaux Arts Gallery. In 1928, Wood again joined Ben and Winifred Nicholson on a second painting trip to Northumberland and Cornwall. There in St. Ives Wood, he met primitive artist Alfred Wallis, whose work played an important influence on Wood’s stylistic development.

Christopher Wood had a solo exhibition in April of 1929 at Tooth’s Gallery on London’s Bond Street where he met art patron Lucy Wertheim who purchased a painting and soon became one of his biggest supporters. In May of 1930, he had his next exhibition with Ben Nicholson that included paintings made in Brittany; this show at the George Bernheim Gallery in Paris was largely unsuccessful. Wood painted during a second stay in Brittany in June and July of 1930; these paintings were for an intended exhibition to open at London’s Wertheim Gallery in October.

In late July, Wood met his patron Lucy Wertheim in Paris to choose the paintings for the October exhibition at her gallery. At that meeting, there was a quarrel about guaranteed annual support from Wertheim. Traveling with his paintings, Wood met his mother and sister in Salisbury on the twenty-first day of August for lunch and a viewing of his new work. After saying his farewells and waiting for the train to London, Wood threw himself onto the tracks just as the train pulled into the station. He died immediately.

It was believed by many that, withdrawing from opium, Christopher Wood thought he was being pursued; he had been carrying a revolver with him at all times. In deference to his mother, Wood’s death was reported as accidental; however the jury at the inquest returned a verdict of suicide while of unsound mind. Ben and Winfred Nicholson, shaken by the event, hired a private detective to investigate the last days of Wood’s life. After reading the first report from the detective, they abandoned their investigation.

Christopher Wood was buried in the churchyard of All Saints Church in Broad Chalke, Wilshire, England. His headstone was carved by fellow artist Eric Gill. A posthumous exhibition of Wood’s work was held at the Wertheim Gallery in February of 1931; another exhibition followed in 1932 at the Lefevre Galley in London. In 1938, Wood’s work appeared at the Venice Biennale and a retrospective at the Redfern Gallery in the West End of London.

Note: A more extensive account of Christopher Wood’s life and notes on many of his most important paintings can be found at the online Art Story site located at: https://www.theartstory.org/artist/wood-christopher/

Another article on Christopher Wood containing many of his landscape paintings can be found at the Artistic Horizons site located at: https://httpartistichorizons.org/2020/11/30/christopher-wood/

Top Insert Image: Peter North, “Christopher Wood”, 1930, Gelatin Silver Print

Second Insert Image: Christopher Wood, “Tréboul”, 1930, Oil on Board, 52.5 x 71.5 cm, Private Collection

Third Insert Image: Christopher Wood, “Portrait of a Gentleman (Henri)”, circa 1925-26, Pencil on Paper, 50.5 x 35.5 cm, Private Collection

Fourth Insert Image: Christopher Wood, “Boat in Harbour, Brittany”, 1929, Oil on Board, 79.4 x 108.6 cm, Tate Museum, London

Bottom Insert Image: Christopher Wood, “Man with Cards”, 1925, Oil on Canvas, 70 x 57 cm, Philip Mould & Company

John Brock Lear Jr.

The Artwork of John Brock Lear Jr.

Born in Chestnut Hill, Pennsylvania in June of 1910, John Brock Lear Jr was an American artist best known for his figurative and landscape works. He attended the Chestnut Hill Academy, an all-male college preparatory school in Greater Philadelphia, where he showed an early talent in art. Inspired by two uncles who were painters, Lear studied at the Pennsylvania Museum School of Industrial Art, now the University of the Arts, under Thornton Oakley, a protege of illustrator Howard Pyle.

John Lear Jr’s work as an artist was centered on freelance illustration and creating paintings and drawings for exhibition. In 1931, he traveled to England for the first time and became drawn to the country’s landscapes. Lear continued his visits to England over the course of his life and, through memories and photos, created many striking landscapes in oils. He always referred to these works as ‘records’, the natural world captured with an artist’s eye.

Lear also produced what he described as ‘creations’, dreamlike landscapes, surrealistic or symbolic in content, composed of realistic and yet disparate images. Composition and color were the major emphasis in these works which he considered closer to rendering rather than painterly in quality. Lear’s creations were not dystopian but often whimsical and brightly colored. Central to most of these dreamlike landscapes are male figures rendered in a style that shows influences by mid-century artists such as George Tooker and Paul Cadmus.

During World War II, John Lear Jr served in the Army’s calvary division at Fort Reilly in Kansas. Recognized for his artistic talent, he was employed to illustrate Army training manuals, booklets and charts. During his service period, Lear also painted several portraits of generals and officers. Though he did not experience the horrors of war overseas, the destruction of life caused by that war influenced aspects of Lear’s surrealist work. After his military discharge, Lear returned to Chestnut Hill where he remained for the duration of his life. As an educator, he taught illustration at Pennsylvania’s Rosemont College and was an instructor at both Philadelphia’s Hussian School of Art and the University of the Arts.

A longtime associate of the many art organizations in the Philadelphia area, Lear never married and passed away at the age of ninety-eight in September of 2008 in Glenside, Pennsylvania. He is buried at Doylestown Cemetery in Bucks County, Pennsylvania.

John B. Lear Jr exhibited his work in numerous solo and group exhibitions. His work appeared in many shows at Philadelphia’s Hahn Gallery, known for its national and international contemporary work, and the Woodmere Art Museum, which houses a collection of Lear’s work. Other permanent collections of Lear’s work can be found in the Detroit Institute of Arts, the Philadelphia Museum of Art, the Florida Gulf Coast Art Center, and the Reading Public Museum, among others. In addition to public collections, Lear’s work is in many private collections in the United States and abroad.

Top Insert Image: John Brock Lear Jr, “Male Figure Study with Roman Helmet”, 1983, Graphite on Wove Paper, 31.8 x 22,2 cm, Private Collection

Second Insert Image: John Brock Lear Jr, “Landscape with Figures”, circa 1960, Watercolor, 64.8 x 45.7 cm, Private Collection

Bottom Insert Image: John Brock Lear Jr, “Construction”, Date Unknown, Graphite on Wove Paper, Private Collection

Keisuke Yamamoto

Stone Lithographs by Keisuke Yamamoto

Born in Osaka in 1961, Keisuke Yamamoto is a Japanese lithographer and painter known for his still lifes and landscape images. He graduated in 1986 from historical Kanazawa’s College of Art and Design with a Master of Fine Arts in Oil Painting and then studied lithographic techniques at a printing studio. Since his graduation, Yamamoto has been an independent painter and lithography artist. He currently lives and works in Kyoto where he maintains his atelier.

Lithography, in essence, requires clear systematic planning in its execution; errors can not be corrected. Yamamoto’s hand-drawn stone lithographs, although appearing simplistic, required great forethought and skill in carving. His work does not contain any narrative but instead focuses on the incredible stillness of a moment in time. The beauty of Yamamoto’s work is created by the interactions between time, silence, light and shadow, the composition of which places the viewer as an observing visitor.

In his “Light, Time, Silence” begun in 1992, Keisuke Yamamoto created a series of lithographs which reconstructed three recurring elements, chairs, stairs and windows, which were arranged in multiple settings with different lighting conditions. The main theme for this series was the conception of the natural flow of time. To achieve this, Yamamoto had to depict the surrounding spaces as well as the gradation of light with great accuracy. He was aware that our ability to see and understand the world visually was based on the light that reflected off various objects. Upon light entering our eyes, our brains process the information and present it to us as a particular object with a particular color and shape. Yamamoto understood the illustration of the visual world depends actually on the depiction of light; and the flow of time must be illustrated through changes in that light.

Keisuke Yamamoto is represented in the United States by the Davidson Galleries, a collection of nearly twenty-thousand works on paper, which is located on Occidental Avenue South in Seattle, Washington. His works can be seen at: https://www.davidsongalleries.com/collections/keisuke-yamamoto

Top Insert Image: Keisuke Yamamoto, “Apple Tree”, 1961/2013, Lithograph, AP, 38.1 x 60.1 cm, Davidson Galleries

Bottom Insert Image: Keisuke Yamamoto, “Sea Breeze B”, 1961, Lithograph, “Light, Time, Silence” Series, Edition of 20, 30.2 x 20 cm, Davidson Galleries